Sure, there are some fun things, as his tongue-slapping percussive alternation with the more melodic blowing of the tune in "Rhytm-a-ning". Despite the music's intrinsic qualities, like musical drive, playfulness, even fun and joy, nothing much of it transpires here (listen to Ben Goldberg's tribute to notice the difference).
And Newsome has technical skills, and they're a real pleasure to listen to, but to me it just doesn't always mix with Monk's music, which is all about melody, harmony and rhythm pushed into a unique envelope, rich and soulful, which once transformed by Newsome's sax sound too distant, cerebral and cold, with too much focus on the instrument instead of the music itself.
Ambitious in the sense that it's already a challenge in itself to fill an entire album with unaccompanied sax, but to use this restriction to bring a tribute to Monk, is setting not only limitations, but also adding real high hurdles. Sam Newsome certainly is an excellent soprano saxophonist, but his take on some of Thelonious Monk's more known compositions, also is more than a little ambitious. and with an audience that appreciates what it hears. It is great from beginning to end, and very Miles-like even up to the little details, the long percussion driven hypnotic passages alternating with softer meditative moments. Although obviously the musicians are not in the same league as the electric Miles band of that period, what they bring is exceptionally good, both in terms of overall playing, but certainly in the outright genuine, emotional and straightforward approach to their material. The band further consist of Will Letman on trumpet, Vagn Leick on electric piano, David Saltman on electric bass, Kiah Nowlin on Drums, Dorian McGee on congas, and Bob O’Connell on guitar (on “Sketch”). This live performance dates from a concert in Cambridge, MA in 1972. "Thing", saxophonist Arni Cheatham's Boston area band in those days (he now plays with Aardvark Orchestra), brings an imitation of Miles Davis early 70s period, high energy music, funky, cosmic and nervous. That means a nice selection from the start and music destined for afficionados of the genre. We embrace the future by investing in the past". In their own words " We painstakingly discover old gems, then locate artists, master the recordings to high standards, and write liner notes to tell the story.
JASON BECKER PERPETUAL BURN FLAC FREE
There are also some quirky, humorous touches sprinkled liberally around Perpetual Burn, which add to its charm." " is a label with a mission : to re-release free and avant jazz albums that are no longer available, and to distribute them in a digital format only.
The piece, which consists almost solely of clean, unprocessed electric guitar and no further accompaniment (with the exception of some keyboard textures in the beginning and end), is a wonderful respite from the rest of the album's more metallic style and supersaturated guitar tones. The album's best moment, "Air," features some traditional classical fingerpicking that gives way to multi-tracked arpeggio orchestrations and Bach-style counterpoint. Floating in on a bed of ethereal keyboards, Becker's guitar opens the album with a lyrical solo on the stately "Altitudes." His compositional skills allow the piece to build naturally and make it a coherent, satisfying statement rather than a jarring collection of unrelated ideas. On Perpetual Burn, Becker gets to stretch out and really show his talents, whereas in Cacophony, with fellow virtuoso Marty Friedman sharing the spotlight, some of the subtleties of Becker's style are lost amid the cluttered speed metal maelstrom. Cacophony guitarist Jason Becker's all-instrumental solo album is a winner.
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